Most of the more or less prominent German composers of the present time may be easily divided in two different classes. On one side we may place those who seem to be all their lives in a period of “Sturm und Drang;” who are always bitterly in earnest, ever appearing either melancholy or passionate, always longing and striving for the unattainable, often mournful, despairing and reticent. These composers present, even in their normal state, gloomy D minor physiognomies, quite in harmony with the prevailing pessimistic philosophy. On the opposite side are those who look more at the bright and sunny side of life and art, who are the good friends and neighbors of their fellow beings, with simpler, quieter feelings, perhaps also with less high, less far fetched aspirations, and who are less anxious to introduce in every work some new and original feature. The musical physiognomies of this class reflect more the peaceful F, the lively D or the festive E flat keys. To be sure, this is rather a queer and fanciful generalization of the truth, and the most remarkable exceptions could be named on either side, both in regard to the sincerity of such domineering tendencies and to the degree of acquired knowledge and ability or inborn talent of the respective composers. There are particularly some of the second class, to whom art is as high and sacred as it is to the others, and who are worthy of a more prominent position, owing to the possession of rare creative powers and a complete mastery in the use of old and modern means of musical expression, as well as of all the different forms of composition. Such a master is Rheinberger. Joseph Gabriel Rheinberger was born the 17th of March, 1839, being the son of a revenue officer in Vaduz, the small capital of the principality of Lichtenstein, between Switzerland and Tyrol. At a very early age it became evident that nature had destined for him a musical career. He was not five years old, when the piano lessons of his eldest sister attracted his attention in a way which induced her teacher to also begin a musical instruction with the little boy; and so great and rapid was his progress, both on the pianoforte and the organ, that after two years he was competent to fill the position of organist at the church. Even his productive instincts manifested themselves in these tender years, and the little tot of eight years was allowed to have a short mass in three parts with organ accompaniment of his own composition performed at church. Thus his musical vocation was beyond all question, and fortunately the best possible professional education was granted to him very early in life.